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"On the day of the Great Fall he left nothing, nothing at all
behind." The latest work by Peter Handke, one of our greatest
living writers, chronicles a day in life of an aging actor as he
makes his way on foot from the outskirts of a great metropolis into
its center. He is scheduled to receive a prestigious award that
evening from the country's president, and the following day he is
supposed to start shooting for a film--perhaps his last--in which
he plays a man who runs amok. While passing through a forest, he
encounters the outcasts of the society--homeless people and
migrants--but he keeps trudging along, traversing a suburb whose
inhabitants are locked in petty but mortal conflicts, crossing a
seemingly unbridgeable superhighway, and wandering into an
abandoned railyard, where police, unused to pedestrians, detain him
briefly on suspicion of terrorism. Things don't improve when he
reaches the heart of the city. There he can't help but see the
alienation characteristic of its residents and the omnipresent
malign influence of electronic technology. What, then, is the
"Great Fall"? What is this heart-wrenching, humorous, distinctively
attentive narrative trying to tell us? As usual, Peter Handke,
deeply introspective and powerfully critical of the world around
him, leaves it to the reader to figure out.
“On the day of the Great Fall he left nothing, nothing at all
behind.†The latest work by Peter Handke, one of our greatest
living writers, chronicles a day in life of an aging actor as he
makes his way on foot from the outskirts of a great metropolis into
its center. He is scheduled to receive a prestigious award that
evening from the country’s president, and the following day he is
supposed to start shooting for a film—perhaps his last—in which
he plays a man who runs amok. While passing through a forest, he
encounters the outcasts of the society—homeless people and
migrants—but he keeps trudging along, traversing a suburb whose
inhabitants are locked in petty but mortal conflicts, crossing a
seemingly unbridgeable superhighway, and wandering into an
abandoned railyard, where police, unused to pedestrians, detain him
briefly on suspicion of terrorism.  Things don’t improve
when he reaches the heart of the city. There he can’t help but
see the alienation characteristic of its residents and the
omnipresent malign influence of electronic technology. What, then,
is the “Great Fall� What is this heart-wrenching, humorous,
distinctively attentive narrative trying to tell us? As usual,
Peter Handke, deeply introspective and powerfully critical of the
world around him, leaves it to the reader to figure out. Â
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Starlite Terrace
Patrick Roth, Krishna Winston
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R532
Discovery Miles 5 320
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Ships in 9 - 15 working days
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Dark stories of failed dreams and contemporary desperation in Los
Angeles. In a rundown Los Angeles apartment building—the titular
Starlite Terrace—Patrick Roth unfurls the tragic linked stories
of Rex, Moss, Gary, and June, four neighbors, in a sort of
burlesque of the Hollywood modern. In each of their singular
collisions with fame, Roth’s dark prose presages a universal and
mythical fate of desperation.  In “The Man at Noah’s
Window,†Rex shares the story of his father, a supposed hand
double for Gary Cooper in High Noon. In “Eclipse of the Sun,â€
Moss, who lives in fear of the next holocaust, awaits a visit from
the long-lost daughter he has tracked down. In “Rider on the
Storm,†Gary, a rock drummer and born-again Christian, who
“almost played†on the Turtles’ 60s-hit “Happy Together,â€
strives to find an escape from his personal guilt. And in “The
Woman in the Sea of Stars,†June, a former Hollywood studio
secretary whose husband once cheated on her with Marilyn Monroe,
makes the best of a disconnected life until she emerges reborn
through ashes strewn in the illuminated swimming pool of the
Starlite Terrace. Â In each of these four tales of wannabes
and almost-weres, Roth's L.A. portraits unfold in rare style, and,
in Krishna Winston’s masterful translation, the hopeless,
loveless perversion of an Ed Ruscha-inspired California becomes a
compelling pageant of all-American grotesques that is not to be
missed. Â
When Hans Jonas died in 1993, he was revered among American
scholars specializing in European philosophy, but his thought had
not yet made great inroads among a wider public. In Germany,
conversely, during the 1980s, when Jonas himself was an
octogenarian, he became a veritable intellectual celebrity, owing
to the runaway success of his 1979 book The Imperative of
Responsibility. In the 1920s, Jonas studied philosophy with Edmund
Husserl and Martin Heidegger, but the Nazi regime forced him to
leave Germany for London in 1933. He later emigrated to Palestine
and eventually enlisted in the British Army's Jewish Brigade to
fight against Hitler. Following the Israeli War of Independence, he
emigrated to the United States and took a position at the New
School for Social Research in New York. He became part of a circle
of friends around Hannah Arendt and Heinrich Blucher, which
included Adolph Lowe and Paul Tillich. This memoir, a diverse
collection of previously unpublished materials-diaries, letters,
interviews, and public statements-has been organized by Christian
Wiese, whose afterword links the Jewish dimensions of Jonas's life
and philosophy. Because Jonas's life spanned the entire twentieth
century, this memoir provides nuanced pictures of German Jewry
during the Weimar Republic, of German Zionism, of the Jewish
emigrants in Palestine during the 1930s and 1940s, and of German
Jewish emigre intellectuals in New York. Since Memoirs was first
published in 2008, interest in the work of Hans Jonas has grown
among American academics in recent years.
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Crabwalk (Paperback, Main)
Gunter Grass; Translated by Krishna Winston
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R280
R249
Discovery Miles 2 490
Save R31 (11%)
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Ships in 12 - 17 working days
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In this new novel Gunter Grass examines a subject that has long
been taboo - the sufferings of the Germans during the Second World
War. He explores the sinking of the Wilhelm Gustloff, the deadliest
maritime disaster of all time, and the repercussions upon three
generations of a German family.
Mysteriously summoned to a houseboat on the Morava River, a few
friends, associates, and collaborators of an old writer listen as
he tells a story that will last until dawn: the tale of the once
well-known writer's recent odyssey across Europe. As his story
unfolds, it visits places that represent stages of the narrator's
and the continent's past, many now lost or irrecoverably changed
through war, death, and the subtler erosions of time. His
wanderings take him from the Balkans to Spain, Germany, and
Austria, from a congress of experts on noise sickness to a
clandestine international gathering of Jew's-harp virtuosos. His
story and its telling are haunted by a beautiful stranger, a woman
who has a preternatural hold over the writer and appears sometimes
as a demon, sometimes as the longed-for destination of his travels.
Powerfully alive, honest, and attimes deliciously satirical, The
Moravian Night explores the mind and memory of an aging writer,
tracking the anxieties, angers, fears, and pleasures of a life
inseparable from the recent history of Central Europe. In
crystalline prose, Peter Handke traces and interrogates his own
thoughts and perceptions while endowing the world with a mythic
dimension. The Moravian Night is at once an elegy for the lost and
forgotten and a novel of self-examination and uneasy discovery,
from one of world literature's great voices.
Goethe was a master of the short prose form. His two narrative
cycles, "Conversations of German Refugees" and "Wilhelm Meister's
Journeyman Years, " both written during a high point of his career,
address various social issues and reveal his experimentation with
narrative and perspective. A traditional cycle of novellas,
"Conversations of German Refugees" deals with the impact and
significance of the French Revolution and suggests Goethe's ideas
on the social function of his art. Goethe's last novel, "Wilhelm
Meister's Journeyman Years, " is a sequel to "Wilhelm Meister's
Apprenticeship" and to "Conversations of German Refugees" and is
considered to be his most remarkable novel in form.
For the first time in English, and in his signature prose poetry,
the film scripts of four of Werner Herzog's early works "Herzog
doesn't write traditional scripts," Film International remarked of
the master filmmaker's Scenarios I and II. "Instead, he writes
scenarios which are like a hybrid of film, fiction, and prose
poetry." Continuing a series that Publishers Weekly pronounced
"compulsively readable . . . equal parts challenging and
satisfying, infuriating and enlightening," Scenarios III presents,
for the first time in English, the shape-shifting scripts for four
of Werner Herzog's early films: Stroszek; Nosferatu, Phantom of the
Night; Where the Green Ants Dream; and Cobra Verde. We can observe
Herzog's working vision as each of these scenarios unfolds in a
form often dramatically different from the film's final version-as,
in his own words, Herzog works himself up into "this kind of frenzy
of high-caliber language and concepts and beauty." With Scenarios I
and II, this volume completes the picture of Herzog's earliest
work, affording a view of the filmmaker mastering his craft, well
on his way to becoming one of the most original, and most
celebrated, artists in his field.
The second in a series: the master filmmaker's prose scenarios for
four of his notable films On the first day of editing Fata Morgana,
Werner Herzog recalls, his editor said: "With this kind of material
we have to pretend to invent cinema." And this, Herzog says, is
what he tries to do every day. In this second volume of his
scenarios, the peerless filmmaker's genius for invention is on
clear display. Written in Herzog's signature fashion-more prose
poem than screenplay, transcribing the vision unfolding before him
as if in a dream-the four scenarios here (three never before
translated into English) reveal an iconoclastic craftsman at the
height of his powers. Along with his template for the film poem
Fata Morgana (1971), this volume includes the scenarios for
Herzog's first two feature films, Signs of Life (1968) and Even
Dwarfs Started Small (1970), along with the hypnotic Heart of Glass
(1976). In a brief introduction, Herzog describes the circumstances
surrounding each scenario, inviting readers into the mysterious
process whereby one man's vision becomes every viewer's waking
dream.
The Israeli analytical psychologist Erich Neumann, whom C. G. Jung
regarded as one of his most gifted students, devoted much of his
later writing to the theme of creativity. This is the third volume
of Neumann's essays on that subject. Neumann found his examples not
only in the work of writers and artists--William Blake, Goethe,
Rilke, Kafka, Klee, Chagall, Picasso, Trakl--but as well in that of
physicists, biologists, psychiatrists, and philosophers.
Confronting the problem of portraying men and women as creative
beings, Neumann expanded the concepts of Jungian psychology with a
more comprehensive definition of the archetype and a new
concept--"unitary reality." Whether or not humanity can be restored
to health from its present situation as a self-endangered species
depends, according to Neumann, on whether we can experience
ourselves as truly creative, in touch with our own being and the
world's being. The six essays comprising this volume--"The Psyche
and the Transformation of the Reality Planes," "The Experience of
the Unitary Reality," "Creative Man and the 'Great Experience,'"
"Man and Meaning," "Peace as the Symbol of Life," and "The Psyche
as the Place of Creation"--all originated as lectures at the Eranos
Conferences in the years 1952 to 1960. Originally published in
1989. The Princeton Legacy Library uses the latest print-on-demand
technology to again make available previously out-of-print books
from the distinguished backlist of Princeton University Press.
These editions preserve the original texts of these important books
while presenting them in durable paperback and hardcover editions.
The goal of the Princeton Legacy Library is to vastly increase
access to the rich scholarly heritage found in the thousands of
books published by Princeton University Press since its founding in
1905.
The Israeli analytical psychologist Erich Neumann, whom C. G. Jung
regarded as one of his most gifted students, devoted much of his
later writing to the theme of creativity. This is the third volume
of Neumann's essays on that subject. Neumann found his examples not
only in the work of writers and artists--William Blake, Goethe,
Rilke, Kafka, Klee, Chagall, Picasso, Trakl--but as well in that of
physicists, biologists, psychiatrists, and philosophers.
Confronting the problem of portraying men and women as creative
beings, Neumann expanded the concepts of Jungian psychology with a
more comprehensive definition of the archetype and a new
concept--"unitary reality." Whether or not humanity can be restored
to health from its present situation as a self-endangered species
depends, according to Neumann, on whether we can experience
ourselves as truly creative, in touch with our own being and the
world's being. The six essays comprising this volume--"The Psyche
and the Transformation of the Reality Planes," "The Experience of
the Unitary Reality," "Creative Man and the 'Great Experience,'"
"Man and Meaning," "Peace as the Symbol of Life," and "The Psyche
as the Place of Creation"--all originated as lectures at the Eranos
Conferences in the years 1952 to 1960. Originally published in
1989. The Princeton Legacy Library uses the latest print-on-demand
technology to again make available previously out-of-print books
from the distinguished backlist of Princeton University Press.
These editions preserve the original texts of these important books
while presenting them in durable paperback and hardcover editions.
The goal of the Princeton Legacy Library is to vastly increase
access to the rich scholarly heritage found in the thousands of
books published by Princeton University Press since its founding in
1905.
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